Azov Films Summer Autumn Winter 1avi New

When the sun begins to dip lower, the Azov transforms. The sea’s surface adopts a muted teal, and the shoreline is strewn with amber leaves that have been carried inland by gusts from the north. In 1avi’s autumn chapter, the focus shifts to Yuri, a farmer from the nearby steppe, whose family has cultivated the fertile lands bordering the sea for generations.

Yuri’s story intertwines with Lena, a photographer documenting the migration of the great white‑stork (Ciconia ciconia) as they follow the shifting wind currents over the Azov. The storks become a visual metaphor for transition—souls moving from one state to another, just as the region itself moves from the vibrancy of summer to the introspection of fall.

The cinematography takes on a richer, more saturated palette: russet, ochre, and deep maroon. The sound design swaps the cicada’s high‑pitched hum for the rustle of dry reeds and the low, resonant calls of distant wolves. The narrative explores themes of loss and renewal—harvests are gathered, memories are stored, and the community prepares for the inevitable chill that follows. azov films summer autumn winter 1avi new

Rosa (2012) argues that “deliberate use of obsolete media” functions as a critique of digital ephemerality. In the context of Eastern European cinema, this has been explored by Šišković (2020) in his analysis of “VHS revivalism” in Balkan underground film. The 1‑avi format, originally designed for early Windows video playback, has been largely abandoned since the mid‑2000s. Its re‑appropriation by Azov Films thus aligns with a broader “archival turn” (Graham, 2021).

| Film | Dominant Colour(s) | Spatial Motif | Narrative Arc | |------|--------------------|---------------|---------------| | Summer | Saturated amber, high contrast | Sun‑baked shipyard, rusted cranes | Introduction – a bustling yet fragile industrial hub. | | Autumn | Muted ochre, desaturated greens | Decaying warehouses, fallen leaves in water | Transition – the onset of neglect, the first signs of abandonment. | | Winter | Bleached blue‑gray, low‑key lighting | Ice‑covered docks, fog‑shrouded horizon | Stasis – a frozen tableau that hints at ecological and political suspension. | | 1AVI (Untitled) | Monochrome, heavy pixelation | Intermixed archival footage of 1970s Soviet naval exercises with present‑day shots | Synthesis – a meta‑layer that collapses the three seasons into a single “new” temporal register. | When the sun begins to dip lower, the Azov transforms

The films progress linearly in terms of seasonal order, yet the narrative is deliberately fragmented. No dialogue is present; instead, each image functions as a visual haiku that evokes memory rather than plot. The recurring motif of rusted metal serves as a material anchor across all three seasons, while the final piece (1AVI) overlays the previous footage with a static overlay of the Cyrillic word “НОВЫЙ” (new), creating a palimpsest that destabilises chronological certainty.

1avi will debut at the International Film Festival of Odesa on September 14, 2026, followed by a limited theatrical release across Ukraine and a streaming rollout on major platforms in early 2027. In conjunction with the release, Azov Films is launching an interactive web portal where viewers can explore behind‑the‑scenes footage, scientific data about the Azov Sea’s seasonal changes, and a digital “seasonal diary” contributed by locals. Yuri’s story intertwines with Lena , a photographer

We invite you to join us on this journey—through sun‑kissed waves, rust‑colored fields, and the hush of winter ice. Because in the end, the story of the Azov is not just a story of three seasons; it is one eternity captured on film.

Stay tuned, stay curious, and let the light of the lighthouse guide you home.

— The Azov Films Team.